Tag Archives: BWV 102

Sinful pride versus humility

22 Saturday Aug 2020

Posted by in 1723 Trinity season special series, Bach's life, Cantatas, Chorale cantatas 1724/1725, Leipzig, Trinity, Weimar

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Church interior with the parable of the Pharisee and the Publican by Dutch painters Dirck van Delen (church interior) and Cornelis van Poelenburch (figures), 1653. Oil on panel. The Clark Art Institute, Williamstown, MA, USA, currently not on view.

The reading for this Sunday, the 11th after Trinity, is the parable of the Pharisee and the Publican (or Tax Collector) from the Gospel of Luke. In the parable, these two men come into the temple to pray around the same time, but talk to God in very different ways. While the Pharisee puts on a fake show about how good he is, the tax collector is very humble, “wouldn’t even lift up his eyes to heaven” and asks for forgiveness.

“There’s something with this Sunday,” I wrote three years ago, and I still feel that way when I listen to the cantatas Bach wrote for this Sunday in 1723 and 1724.

In 1723, his first year in Leipzig, Bach performed two cantatas on this Sunday: Cantata 179 Siehe zu, daß deine Gottesfurcht kein Heuchelei sei (See that your fear of God is not hypocrisy) before the sermon, and his solo cantata for soprano Cantata 199 Mein Herze schwimmt in Blut (from his early years in Weimar) afterwards. Cantata 199 is only loosely related to the Gospel story, and was probably never written with this story in mind. Because of its multi-layered history and the many different recordings, I will discuss that composition some other time.

Cantata 179 focuses on the hypocrisy of the Pharisee, and just like cantatas 46 and 102 I discussed last week, it must have been one of Bach’s own favorites, because he re-used three movements in later works. Read all about it in my post from 2016, which I have updated with better images and new video links.

In 1724, Bach wrote cantata 113 Herr Jesu Christ, du höchstes Gut, which, surprise, surprise, focuses on the Publican asking for mercy. The only recording that does this cantata justice and gives me the good kind of stomachache is the one by Bach Collegium Japan. Peter Kooij’s and Robin Blaze’s singing is outstanding, and Yukari Nonoshita and Robin Blaze make the duet into a lovely piece of music, which is–judging from a lot of other recordings–not an easy thing to do. I updated my blog post from 2017 with all the correct links to stream or purchase this recording. Please find it here.

Wieneke Gorter, August 22, 2020.

Among Bach’s own favorites: BWV 46 and 102 for Trinity 10

16 Sunday Aug 2020

Posted by in 1723 Trinity season special series, Cantatas, Leipzig, Trinity

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  • Marcel Ponseele
  • Damien Guillon, photo by Julien Mignot

We don’t have any letters in which Bach writes about his own compositions, so we officially don’t know which ones were his own favorites. But when we see which cantatas he gave a “second life” in another work, and which cantatas were performed by his sons, we can make an educated guess.

Two of these cantatas, Cantata 46 Schauet doch und sehet, ob irgend ein Schmerz sei (from 1723) and Cantata 102 Herr, deine Augen sehen nach dem Glauben! (from 1726), were written for this Sunday, the 10th after Trinity.

Bach gave the opening chorus from Cantata 46 Schauet doch und sehet, ob irgend ein Schmerz sei a second life in the Qui Tollis in his Mass in B minor. Find a YouTube video of just that opening chorus, from Herreweghe’s performance at the 2013 Saintes Festival in France, here. Find my post from 2016 about this cantata, with links to translations, score, and my favorite recording here.

Cantata 102 Herr, deine Augen sehen nach dem Glauben! received even more second lives (see table below), and was performed at least twice in Hamburg by Bach’s second surviving son, Carl Philipp Emmanuel Bach. My favorite performance of this cantata was the one by Herreweghe I attended in January 2018 at the Bruges Bach Festival, with Dorothee Mields, Alex Potter, Thomas Hobbs, and Peter Kooij. Alas there is no recording of this. Of all recordings currently available, my favorite is here on YouTube, by oboist Marcel Ponseele’s Ensemble Il Gardellino, with Damien Guillon, countertenor; Marcus Ullman, tenor; and Lieven Termont, bass. Especially the Aria Weh der Seele, die den Schaden by countertenor Damien Guillon and oboist Marcel Ponseele (both pictured at the top of this post) is to die for, and this combination of singer and oboist is simply unrivaled by any other recordings.

Find the texts & translations of Cantata 102 here, and the score here.

Movement from Cantata 102Movement in later work
Opening chorusOpening chorus of the Missa Brevis in g minor, BWV 235
Alto ariaSoprano aria “Qui tollis peccata mundi” of the Missa Brevis in F Major, BWV 233
Tenor ariaAlto aria “Quoniam to solus sanctus” of the Missa Brevis in F Major, BWV 233

A little more about the early “revival” of this cantata by Carl Philipp Emmanuel Bach. In 1768, C.Ph.E. Bach succeeded Telemann as music director of the five largest churches in Hamburg, and remained in that position until his death in 1788. As such, he performed a handful of his father’s cantatas, albeit with adaptations. In 1776 or 1777 as well as in 1781, he performed Cantata 102 Herr, deine Augen sehen nach dem Glauben!

Adolf Bernhard Marx

These early “promotions” of this cantata must have inspired more performances or at least discussions about them, and eventually this composition along with some other cantatas likely reached the circle around Mendelssohn. In 1830, shortly after Mendelssohn’s Berlin revival of Bach’s St. Matthew Passion in 1829, Adolf Bernhard Marx published three Bach cantatas BWV nrs 101, 102, and 103. It was the firsts time since 1709 that a Bach cantata appeared in print.

Wieneke Gorter, August 16, 2020.